Breadth
In my "Black and White Surrealism" a lot of my inspiration came from looking at odd black and white photos with unique manipulations over-top. For example, black and white photographer, Erlene Hendrix, composes some incredible and original pieces while still keeping the composition focused and simple.
In my "Concert Oil Paint" I chose to edit the photo so it has a greenish hue throughout, while manipulating the image to have an oil painted effect.
In "Head Deconstruction" I decided to make a simple 2/D surrealistic piece. I photographed a head and various tools around my shed. I applied a color overlay on each individual part then laid out the various tools and cogs to seem as if the are bursting out of the head.
Concentration
My concentration focuses on a collection of manipulated monochrome photographs/collages expressing various ways humans feel forced to regulate their words and actions in order to conform. Whether that be opinions among peers, self-image, mental health, or even politics, unorthodox ways of thinking are often met with hostility. For example, "Mute" consists of a man being taped over the mouth, with words seemingly spurting out the back of his head. This image boasts a very broad image of suppressed thought and mind. This acts as a starting point for the pieces to come, as we dive deeper into more specific ideas in the human psyche. Originally, I incorporated sudden bursts of color and text in certain pieces were it looked strong compositionally and also helped further my message. As I continued on, I really enjoyed my composition but I felt as if it was missing a key ingredient to give it a sense of grit. I then decided to add a lot more texture to see if that could add a more raw look. This helped tremendously to add a more grungy and tactile effect. Upon seeing the effect this gave my art, I thought of ways to incorporate newsprint instead of just text layers to still retain the typography but to add more grungy asthetic. From my far more polished looking original pieces, to the far more textured and gritty ones, I’ve grown a lot in my style and use of technique.
Quality Section
Commentary
What are some of the most important skills you draw upon to create your work?
Throughout my concentration, I draw heavily from my experience in Photoshop and skill behind the camera. When I first take my photos I make sure they have strong composition and are of a high quality in their own right. I then begin to sketch out ideas of things to manipulate within the photo itself to craft an engaging image and that helps further my Concentration statement. These skills and creative processes have made me more efficient in my work and my pieces stronger.
What are the most successful aspects of your work? Why do you believe it to be successful?
I found my consistency in art style to be my most successful aspect. Throughout my concentration, though each piece is distinct, they all feel part of a whole. My use of texture and monochrome helped to create a central through-line between each piece. I also feel as if my editing is very strong throughout. I only make edits when I know they well help enhance a piece and I show restraint so the edits don't become distracting and tacky.
What are some of the most significant things you learned through your AP Studio experience?
The most important thing in Studio Art is that critiques are absolutely necessary for you to improve your work. Receiving feedback is the best possible way for you to make changes and become a stronger artist in general. Though it may be pretty savage and heartbreaking to get your artwork roasted, you must the difference between quality and utter garbage.
What advice would you give other artists coming into AP studio art to help them find success?
I would give other artists the advice of being 100% open to new ideas and ways to fix your own artwork. Being closed-minded is possibly the worst thing an artist can do and you will see little to no improvement. Always be open to criticism. Don't be stubborn.